Face it, Danzig will not be returning to or repeating his past glories known as Danzig I, Danzig II: LUCIFUGE and to a lesser extent Danzig III: HOW THE GODS KILL. These are the essential albums from Mr. Danzig (in my opinion). What we have with I LUCIFERI is the best album he’s done since HOW THE GODS KILL (so yeah, I do like this more than the industrial flavored IV). We see a return to heavier songs that revolve more around the guitar and some of this is great, while some songs didn’t leave a lasting impression on me.

The line-up for I LUCIFERI is Glen Danzig (vocals), Todd Youth (guitars), Howie Pyro (bass), and Joey C. (drums). The album itself was also produced by Glenn Danzig and he does a great job. Although some people are sick of hearing this, I’ll say it again….Danzig’s music hasn’t been the same since guitarist John Christ left. His heavy, bluesy, ballsy guitar playing mixed with Danzig’s tortured cries made for a perfect match creating some memorable metal. The style of guitar playing on the new album is much more modern. It’s not as doomy or bluesy or as hauntingly dark sounding as the early material. The styles of guitar riffs are heavier sounding, but that doesn’t always mean it’s better. For example we get to hear a riff that is more at home with Marilyn Manson, and other later 90’s bands who focus on the “groove” of the song more than anything else. The Marilyn Mason sound is most noticeable on the track “Kiss The Skull” where we are treated to a “The Beautiful People” styled sound. It’s actually a great song, even if it doesn’t sound like classic Danzig. The vocal line and melody is what really made this song for me. The first song on I LUCIFERI is “Black Mass”, despite the dragged out intro this is easily the best song Danzig has done in a long time. The main riff is reminiscent of older Danzig with an updated sound. Following up is the song that is the first single and video from the album, “Wicked Pussycat” with a start / stop riff style on the verses. Not a bad song, but not the best choice for a singe to me. Next is “God of Light” which begins with riffing that is very close to mallcore…what’s up with that…and in Danzig no less!?! “Liberskull” (whose lyrics are absent from the booklet?!?) is another of the better tracks on here with a huge riff that reminded me of a cross between Crowbar and something from Sacred Reich’s LOW album. The song also has a guitar solo, something that not every song on here has…too bad. The track “Dead Inside” is when it gets sleepy and repetitive for the intro, then the chorus slams in with comparatively heavy aggression. Other hot spots are the catchy and riffy “I Luciferi” and the opening vocals to “The Coldest Sun” – deep and creepy sounding this song is a definite highlight on the album. The album closer, and contender for best song title on the album, “Without Light, I Am” is a nod to Black Sabbath’s godly self-titled song from their first album. It’s not a ripoff at all, but it has the feel of the original with Danzig’s own unique twist.

If you skipped on buying Danzig’s V: BLACKACIDEVIL and 6:66: SATAN’s CHILD then this album might be the one that redeems Danzig’s place in your black heart. I have appreciated this album more with each listen. So with more listens perhaps my rating for the CD might go up! I recommend that fans of Danzig check this one out and see what you think for yourself.

Now this is Danzig. Not since DANZIG 4, have I been able to say this with a degree of confidence. Glenn Danzig says that DANZIG 5 was a throwback to Samhain experimentation. That may be true, but it wasn’t Danzig as I had been accustomed to and so I opted out. To be honest, I never did check out DANZIG 6:66 and may not have sought out 7:77 if not for a friend’s recommendation. Much like DANZIG 4, there are a couple experimental tracks mixed in with DANZIG I style doom rockers. The experimental stuff I’m not crazy about (when I say experimental, I’m talking “modern”). Danzig excels when he sticks with what he does best: straight forward, metallic doom rock. Trust me, there are plenty of these types of tunes to satisfy. “Black Mass,” “Liber Skull,” “I Luciferi” and “Naked Witch” would fit nicely into the early Danzig catalog. Plus, we get a few “End of Time” style ballads. Ballads delivered Danzig style are a treat, to say the least. Some have said that Glenn’s voice has deteriorated and this release is proof positive. I don’t see it. Maybe he sounds a little reserved in some places, but this album is not an all out screamer as were the first few albums. 7:77 is a bit more reserved, but the vibe demands it. Have no fear, the ol’ unleashed fury is there for all to hear on more than a few songs. Overall, I was pleasantly surprised. Danzig certainly seems to have gotten back on the metallic track.